Pablo Picasso

Le Repos du Sculpteur et le Modèle au Masque

1933

A very good impression of this etching and aquatint. Signed 75/75 in pencil by Wesselmann.

A superb, richly-inked impression of this extremely scarce, early etching and drypoint. With burr throughout and crisp plate edges. First state (of 2). Edition of 100. Signed in penc...

A very good impression of this etching printed in dark brown on cream laid paper. Signed in pencil by Zorn. Catalogue reference: Asplund 269; Hjert/Hjert 276

A brilliant, richly-inked impression of this etching and drypoint printed in dark brownish black on antique cream laid paper with very strong contrasts....

Large, attractive color linocut by Pablo Picasso from a limited edition of 50. Signed by Picasso and numbered in pencil. Printed by Arnéra, Vallaur...

A superb impression of this offset lithograph with vibrant pochoir color. Signed and numbered in ink, from an edition of 185.

This sensuous and playful scene is characteristic of Oldenburg’s printmaking ouevre: a veritable heap of women displaying various expressions of joy and come-hither coquettishness. T...

These erotic etchings depict mythological and fantasy creatures as striking nudes. A host of sensuous and shocking figures include a mermaid, Medusa, and women in both jubilant and p...

Irving Guyer captured the bustle of the city in a modernist style. This print is signed and titled in pencil.

- Plate 55 from the Suite 156 - with stamp signature - dated in the plate 2.3.70 - edition 26/50 - cat. raisonné Bloch 1910

Leonor Fini - Untitled - Original Handsigned Etching Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

André Derain - Ovid's Heroides Original Etching Edition of 134 Dimensions: 32 x 25 cm Ovide [Marcel Prevost], Héroïdes, Paris, Société des Cent-une, 1938 Andre Derain was born in 1...